Lessons

Lesson Info

Advanced Post Production Enhancing

first off, let us, um, do this concept of HDR. Um, and I did a little tweak yesterday on some images. Basically, the, uh, we talked about JPEG earlier today that that is something with potentially 16 million colors. When you cook a file in camera when you shoot it in raw, you have potentially of 60 billion colors in that file. But sometimes we're just greedy sons of guns, and we want even more than that And really, because of how the human mind works and our I works, we have almost unlimited tonal range in our eyes, in terms of the number of stops of latitude weaken See, because we change on the look straight into the light, I can look straight into the shadows and Aiken perceive both because I'm changing on the fly very hard. Teoh get that even with a raw file. So the idea of high dynamic range imagery is when we take the 60 billion colors and do 60 billion times 16 building, I'm 60 billion and basically you're using floating point mathematics to try and describe something, and the po...

tential is very, very cool to do something that the no camera could ever perceive, and the technology is changing such that it is something that we see built in to our bloody cell phones. Right? The IPhone, now the current one, shoots three shots every single time you press the shutter. It takes three shots and combines those and makes a true HDR unless you're in burst mode and then it doesn't. But, um, it's so good now that you can leave that on is the default setting and not have to save the non HDR in the regular HDR. There are other cool apse, which we're going to get into later on. There's a pro camera brand new one that does HDR 10 times faster than the another. App has done HDR before, and that's a really cool out that we'll get to in a couple of days with our mobile photography class. But you notice that our big boy cameras and big girl cameras are DSLR czar. Also, shooting in camera HDR because of this fact, effected its popularity and its usefulness, um, as well as a lot of our point and shoot cameras. We're also putting that into play, so it's very popular and it has great potential mules you saw just what we were able to pull out of that image with a single shot When doing a panorama, you can't theoretically do, um, bracketed sets and then stitched those together and then stitched those together into panorama. Um, you can do that, and that's how you would do it. You would. Do you? No. Three shots bracket in the exposure is basically, you want a metered exposure with the camera thinks is a good exposure, and then you will go slightly above and below that exposure over exposing and under exposing to make sure your highlights have tons of detail in your shadows have lots of detail. That's the concept with HDR. If we have that, see if we've got, um, this is what I was doing yesterday, doing that, wanting to do a whole appear in Seattle. Not the most exciting thing going on, but basically what we've got going on is doing that exposure compensation in the lower left hand corner, getting our shot shooting in the raw file format. You can't technically shoot a J peg and stitch them together, but because the J. Pez is cooked in the camera and there we are changing the exposure. Now I'm going to stops under. I just did to she stops over, or that was the media exposure. So in this case, I'm just doing three shots, two stops over two stops under in metered, um, and again waiting for each one of those hoping that it doesn't move too much. And there we go to now, the overexpose shot. Okay, you get the idea. Um, you could have also done single stops along that way and maybe get five stops of dynamic range for making your image. Um, the thing then, is to try and bring those together where you're not, Especially in this case, where there's no chance that these images are going to be an alignment coming straight out of the camera. There's just, you know, there's way too much movement, even on a tripod. Technically speaking, even a tripod is gonna have some slight movement to a pixel or half a pixel between the shots. So you're gonna have to take those raw shots and then have those aligned. And sometimes even the alignment isn't going to help you, because as an example, we had wind yesterday. So even if we were able to align. You know, the light posts, the trees, they're still going to be moving. So then we need another piece of technology, and that's called de ghosting or anti ghosting, where you're gonna ask Photoshopped. Let's just go ahead and do that. And, ah, this is our D N G's. Let's see, we've got that are not processed. We've got our 46. Actually, we did a number of stops, all right, and that is a result. So we've got four stops. Looks like 46 47 48 49. And in this case, because they are raw files, when we merge them together, it is actually gonna look at these pre pixel files. A raw file actually doesn't even contain pixels. It's sensor data, and it's using a different color space than a traditional J peg hurt if it is really kind of a different animal. That's why we need something like Adobe camera raw to translate it to, actually what's known as D mosaic it from the sensor data into true pixels. And so, by starting off with a raw file, there's really no benefit to tweaking or enhancing or doing anything to the files before you start, because it's gonna look at this underlying raw data. And that's what it's going to merge to create this high bit depth or high dynamic range image. So we're gonna go in, select them inside the bridge, same thing as we would in light room. Light Room also does not do any merging of high dynamic range images, tools, photo shop, merged HDR pro. And this is going to do, um, two things. It's going to first align the files together, and then it's gonna ask me what I what I want to do with the resulting file, and I can either choose to tweak them in this special, unified interface known as a studio pro. Or I can say, Would you take that resulting hybrid depth image and take it somewhere else to do what's known as tone mapping, tone mapping is taking these literally exponential number of potential tones using floating point mathematics. It's not even a number that you, you know, normally would think of. So here it merged those together, and it's giving me a resulting you know, kind of flat file. Here are the four different images that I use and you can see the range between under metered and my too overexposed ones, and there's two things that I want to do. First off, I want to come up here and say Remove ghost and what remove ghost is going to do is going to take that as I said, the moving leaves and it's going to say Okay to remove the ghosts, I need one image to use as a master. I'm going to use the tonal range of all four images, but I'm only going to use the detail from one which is really pretty darn cool. This is why, when you shoot HDR in your mobile phone, it can actually be sharper, even though it's using three shots than the single shot. Because it goes in there and it finds the sharper set of the three and uses that in this case it's going to use the first exposure. If we look down here, the first exposure is what it should use that has the full tonal range in it. So it wants that because of it, used one of these for that de ghosting, you would actually be losing that total information since it's using the tone from one of the images. It would be losing information if it used one of these, but it will use the not the detail. It will get that from here, but will use the tone from all three or four these files. And instead of doing what has been done in the past, where you'd say Give me a 16 bit and then use all these sliders to come up with something you can now say used bit Mathematics is actually a huge it's 32 bits of information per channel to to the 36 time power cubed. Don't even ask that I'm gonna try and complete toning in adobe camera raw. So I want to say tone in a CR. And as we've seen Adobe Camera, A CR is mind bendingly cool and groovy at pulling out a huge amount of total information from a file. And that's what this is going to do. So you get the best of all worlds, especially since if I would have toned mapped it in that interface or other pieces of software that do a global HDR creation of the file its global. One of the problems with HDR photography is that it pulls out all the lights and darks from everywhere and you've seen HDR files and you're gonna go. It looks like an illustration because the I doesn't look that way. You don't look into the shadows inside of the house as well as the sky out here. We purposely had the inside of the house dark because it's not what we're looking at. A picture of the house and HDR is nondescript on how it pulls out information. The great thing of a CR's we already saw is we have these targeted adjustments. We have the Grady INTs, the radials, the brushes. We have all these things to shape the tone exactly how this story is. So we're not limited to one giant global adjustment. But anyway, so now we've got an image that is actually huge amount of tonal range will do that same tango white balance crop Don't need it. Auto. Kate looks like it pulled out a great deal of information from my shadow. There's my highlight slider pullback in some highlight information. Uh, let's do a little bit of clarity will pull out a little bit of pop in here. We'll use that vibrance. I may play around with that white balance. You do have an auto option, you know, So you can see. You can see if it does a better Stabat that actually, that looks pretty good. Maybe a little bit more magenta to compensate for that green warm up that sky a little bit now, I'm gonna immediately come up here and do that targeted adjustment with things like that. Grady int I've got my sky. You already know what I'm gonna do with the sky. Same skies yesterday. Same shot as yesterday. Same thing going on so I can come up here. Add that clarity to add some detail in the sky. You can see I've still got all that detail in the highlight that was blown out on my lightest exposure. I can even come up here and do twice if I do one grading and I want to get it darker. Where I started is 100% of the effect. So from here up, it's the same effect. And when it could stand to the red it stops has no effect. So if I wanted to be, you know, mawr. Significant change in other words darker to the medium toe light. I can come up here, click and drag, and now you can see I can add layer these different effects Since these are all being done procedurally as I mentioned before, all of this is technically nondestructive can do it in any order that's layering the information. It's looking at this ridiculously high bit depth file and finding lots of cool information. I'm not going to say new. I'm gonna do that same kind of anti exposure, but I don't need the clarity up on the bottom. So I'm gonna come up here to kind of draw the eye up into the soccer field, make it look like maybe there was no more cloud cover in the foreground here. All sorts of things I can do. Teoh shape the eye around here. If I had something that maybe was ah, portrait or something, I could even take out sharpness toe, add some Fogler or both shallow depth of field. I could even stack these blurring adjustments one on top of each other. Good. I can come up here and, uh, say do I'm gonna do my We'll do a radio adjustment. We haven't done one of those yet? Well, goo, we're gonna just the inside. We're gonna take that exposure up. This has a feather setting which will start off without it. And I'm gonna come over here in the field and you can see I can brighten up that field and maybe I want to brighten up the field and add some of the trees as well. And for that, I'm gonna add some clarity and you're going to see I'm going to get a little bit of sparkle to that field, including a little bit of saturation. So basically, I'm doing the tango. But now I'm targeting it to the center of the field and that is, you know, drawing my eye right there. And that's a little bit more exposure than I need. That clarity is giving me the pop like that. Maybe. Come back out. Use that. Been yet that we didn't use on the panorama on the lake. We'll use a color priority. That's the more subtle out of these. I do have, by the way, a three day class on adobe camera, raw on a three day class on light room here at Creative life. If you're so inclined. Now I'm gonna draw this in, and I'm gonna make it own nice and modified on that outside. So now that vignettes gonna draw it in It's a post crop. And yet so if I realized that, really, the story is this field, not this area over here. If I crop it, actually, I'm already, um, inside a photo shops version of adobe camera raw so I can't crop it in here. You'll notice there's no crop tool up here, so that's not gonna do me any good, but I will do another targeted adjustment just because it's cool and we haven't covered it yet. And that is the HSE l panel DHS l panel, which lets me adjust shoes saturation and luminous for a file based upon the colors that are inherent in the file. I can say Come over here and you know what? I want to make those yellows. Let's take those yellows and I can even take a little targeted adjustment tool in the upper left click on the yellows over here, and I can come over here and I can shift them toward the red form or toward the yellow. If you look at that in the field, you can see what I'm doing. I can make it, you know, red or yellow or whatever it like. Actually, I think I kind of like them. Um I'm gonna make him a little bit more red. I can shift the green of the grass. I can shift that even a little bit warmer or cooler in and of itself. I can come over to, um, the green grass. If I, like, go to illuminates, click on the grass and I can darken up the grass independently of the other colors. Okay, so this again works great with portrait's or anything. If you want to lighten skin tone, you wanna unify skin tone? If you have some areas of the skin there to read some that are too yellow, you can move the reds toward the oranges, the yellows for the oranges. Meet in the middle. Let any retouching. You can unify skin tone in just a couple clicks. Awesome. Cool. Groovy. Will, um, crop, that when we get out of here, Here is our peaky. So here is our HDR. Okay. Hit. Okay. And there is our file. It is still in a 32 bit per channel format, so it has a lot of information. You'll notice when you go into filters, a lot of them will be blurred out. Actually, Adobe is in a great job of adding more to it, but some of them are not available just because the image is in this 32 bit per channel. Once you have it in that channel, you actually can knock it down or flat in the file. But you'll notice that when it brought it into, um, photo shop, it did. So is what's known as a smart object, which we're gonna cover in just a minute when we get into video, because that means that even all this adjustment here's our before and after is being done in a non destructive filter that's actually embedded inside the layer. If you haven't worked with smart objects that the coolest thing since sliced bread you should familiarize yourself with them. And so it is a filter, which includes a mask, and I can continue to stack multiple adjustments or multiple filters. Um, at one time in this case, I'm gonna go over that crop tool, and we're gonna come over here and I can see that the trees were moving so much that even that was asking a little bit too much of footer shop. And we don't need that much of the sky. And, uh, sure, why not? Okay, so that and it's going to re calculate that adjustment. So that is a man HDR. We'll save that real quick. We've done a panel. Let's do one mawr, um, image of a single file, single raw file because that canyon is just too cool to not work on that file in a single raw coming from the copter. So again, I'm gonna I'm here in the bridge real quickly as kind of a review, even though we just did. Camera, You're getting quite a bit of camera. You're gonna get camera on a video in just a second as well. Um, let's come up here. What was the first step of the tango? Have no bloody idea why? Balance and crop if you need it. White balance looks pretty good. Crop don't need it. Next step. Auto. Auto works. Great. You can see here it is a little bit more cautious. It actually brought in highlight detail. It actually went in here and did some of these air fairly elaborate adjustments like a contrast down is something that you might not normally do when you're trying to make it dynamic landscape. But it says, you know what the way that that curvature in the instagram is, I recommend going down. Highlights went down, Pull out the cloud detail. Shadows went up, whites went up. Even though it's got a lot of detail, it said, By the time I take those highlights down, I want a nice, bright white I'm gonna take those up. Even that something that has his dark is this outside clip. I'm gonna take those blacks down because they've pulled up so much shadow detail. It's really an elaborate adjustment. It's a great starting point. Ah, lot of the time if it doesn't work, if you hit auto and you go at, undo it and do it from scratch to it manually, go into the next step, which is exposure. Clarity, shadow and highlight exposure is my mid tone. Overall, mid tone looks great. If I was working on a portrait, the Midtown's would be your skin tone. Think of that is your Midtown. Don't worry about the highlights of shadows. We've obviously got sliders for that. The Midtown exposure looks good. Next. One clarity. That's that edge popping. Come over here. Bring that in. You can see that's where I'm going to get some pop both in the water, as in the rocks. So I like a little bit of that. Not too much shadow and highlight. This is interesting. I'm gonna come over here and take the highlights down. I don't mind making some drama in the clouds, and I'm also going to see how much detail I can pull out of those clouds. And to be honest in a single shot, that's what I could get. Thes shadow. I actually, as I mentioned before, this is the same shot that we're working with here. You can see how dark that I kept the shadows because I really for me, it's the light bouncing off at the edge. Uh, the far end of the canyon hitting in the rapids. That's the story in the rock is cool. Is the shale is really isn't for me the story. So I'm not gonna pull out anymore. Shadow detail. Even though you can see there's a huge amount of information. If I hit that peaky, you can see what you can get out of a raw file. You'll also notice if you squint the drama that I like so much of light and shadow. If I get too carried away, I just lost my main element of composition, which is the contrast between light and shadow. So again, this is why, in terms of HDR or anything, just because you can pull out detail doesn't mean it's gonna make for a better story. But I do want is no clipping of my shadow information. So that's what I'm going for here, OK, I like that. They're my global adjustments vibrance. I do have some oranges here. The nice thing is the orange it's gonna make that blue pop, and it's gonna be cautious with the cliff face. If I were to use saturation, let's reset that vibrance interesting. That should set that back down to zero, and you can see that it's nice. It's actually a little bit more cautious with the sky, and if I'm cautious, it actually can do a nice job with the cliff face. So actually, this is a case. We're just like a sunset I don't want it to be cautious with oranges. That's what I'm controlling right now. And I also don't want it to get heavy handed with the blue. So this would be a case where saturation is better for me than vibrance. I also like pulling out information. Like I said from the edges, I kind of like darkening those up. Using that been yet, I could either manually do it by making adjustments, painting or use ingredients. But I like that. Actually, let's do something we haven't done yet. A new feature. We did it briefly in the baseball field on the soccer field. Use that radio. But in this case, we're gonna use it for a vignette on the reason why I like that and we're just gonna do a little under exposure, and we're gonna make sure now that it's not the inside. It's the outside. And again, this is also built into light room is that I have a lot more in my control. I have my dozen different options at my disposal, not just that one slider of darkening and feathering that I had over there in the effects panel. Nice thing is about this inside of a CR and light room. If I just simply double click in the window, it automatically fits it to screen knows the orientation of it. I can. Often times when I'm doing this, I will come up here and let's go ahead and Commander Control zero to fit in window, and I'll take that exposure all the way down. So now I can see that feathered edge between what's being adjusted and what's not. Um, and if I were to take that further down, you'll see that it actually becomes a hard edge selection so I can see the feather that I want. I can also go. You know what? What I really want is to come up here and have it mawr just along the edges, okay? And again Now, I can set that exposure to what I want because it was heavy handed before. So now I've got a little custom vignette in there. If I wanted at the same time, I wanted to do a little pinhole camera. I could take that sharpness down. I could reduce saturation. I could change, highlight whatever I want. So I have these dozen examples, just like with the Grady it just as I do with a brush. OK, Speaking of brush by, come over here. I may want to come over here and do a little targeted popping to exaggerate some of this contrast in the file. And for here, I'll take that exposure up and you notice Here's my brush. I'm leaving that green circle on just so you can see where my brushes that but it also has a feather option. So I've got my feather flow and density all the way up, and I'm going to just come over here and let's see, I've got that. I'm actually gonna take my exposure down and I'm gonna come up here and I'm not. There is an auto mask capability built into this. I want to see the mask, but I don't want to Auto mask. In other words, I don't want it to try and find a tone and do a hard edge selection on that. It's just gonna be soft. So I'm gonna come over here and I'm gonna do a little pop in those areas that I want to have a little bit more contrast to. I can hide that mask now and now. This is what is being adjusted. Okay, so you can see I can come up here and adjust it a little bit. I can add a little more clarity in those areas. Maybe even those areas can take a little bit more saturation, as if the light is bouncing around off the side cameras even into the shadows, as they really dio. Um, and I could do that same sort of thing. I can say new and now keep clarity and saturation. But now come over here and just touch portions of the canyon where maybe I do want just a little bit of highlight around the rim or something else like that. Okay, To basically shape the portions of the scene. So now this is those two things where I have did a targeted dodge and burn. Okay, Each one of these points shows the areas that I've worked on. I can tell down here that I wanna do that little bit more cautiously. If I hold down the option, are all key. It automatically gives me eraser so I can make sure that I don't get in areas that I don't want. We could do obviously a weeklong class at least a three day class and adobe camera raw. So I'm going a little bit fast. Hopefully, you like shortcuts, and that would be tapping the why key is hide and show the mask. As I mentioned, when you're painting, if you want to get to the eraser, it's option key on the Mac. Key on the PC automatically lets you erase that mask. Um, moving between hovering over the points, even if you don't click on them. Shows you what area is being adjusted with those particular control points. Okay, last but not least, I see I've got a prop up here. We are on a mobile. Actually. Remember, I mentioned that chromatic aberration thing, getting some little halos along the edge right here that is found under that lens Corrections color. Remove chromatic aberration before, after before. After. What's the technical term for that? I'm sorry, you who didn't like me saying pitching at the max Conference, but I like Okay, so removing chromatic aberrations like that, I could do that same sort of sharpening that we did before. But for time's sake, let's just jump over to our spot removal tool now. Call the Advanced healing brush, and it's still called spot removal. But now it's much more of a brush because now it has the ability to stroke along a path to remove something. It also has a feather feature for both hell and clone. It's an awesome tool. You can actually do a huge amount with it. I'm gonna come over here and I've got just a slight further. You actually don't need any feather for hell will do a great job, but I'm gonna come up here and I'm gonna stop before I get to the cliff face, it automatically is choosing something out of the frame. It looks like it did a pretty good job. But if I want, I can hit the, um, forward slash and it actually will choose a different spot. So I don't actually have to move out of the way to go find out. What was it using and why did it work or not work so that forward slash key is a nice thing. Please, would you choose another area and we'll come over here? I see this. We've actually got one of the motors up here on that side that it's going to use that area like that. Thank you very much. Remember when something works, say thank you. Write software has feelings, just like we do. I'm gonna come over here. In this case, we can manually maybe do it get get a little closer to that edge face, like you said I could do now. Ah, path. And if I wanted to, I could even come over here in match a particular cliff face. So if that cliff face here, I can come over here and use that one. That one has the same issue is the other one. So I can come over here and use a different one. Basically, you have toe match, find a portion of the cliff face that kind of matches in tone, and that will get rid of our cliff face over there. So there is a re patch job in the upper right Here is the peaky for before. After before, After including all our resuscitation of highlights in a single raw file coming from the phantom vision to plus questions here, there anywhere. Yes. Cheat sheet for some of these shortcuts that you're using There is in light room light room has a help function in the upper bar, and they actually have a printed cheat sheet. Um, in my adobe camera. Raw class, I think we may have had a cheat sheet potentially mentioned, I think with Karen Wilmore might have done something for that course. I believe. I don't know if Karen did my a c r. Club. Oh, that's true. Yeah, it was before this 10 part. Seriously. Great thing. One thing about this 10 part series is Karen Wilmore. Um uh, professional photographer. Awesome writer has a little kid. Boyfriend follows her around. He's trying to learn butter shot. His name is Benny or something like that. Anyway, um, Karen is amazing. A fantastic photographer, A swell as writer and in design genius. And she is doing a workbook for every single one of these 10 courses. And she did my full I photography class, which has 100 page workbook on it. But each one of these classes is like 25 pages, so we're gonna have over a 200 page book on creative photography techniques. Infrared macro underwater drone, HDR, mobile photography, motion blur. All these things are going to be in this, so hopefully it's just gonna be an amazing source for all sorts of things which will include all these Photoshopped techniques are also going to be part of those workbooks. So, Karen, if there's a few if weaken, separate out some of the shortcuts, um, that would be great. And, uh and I know you know them all. Okay? And last, but not least, I mentioned before. If you take a snapshot, you can see I already made a snapshot here. So here is a slight variation on that one. Here's another complete different flavor. Here is what I just did. Here is our starting point. One other thing that I mentioned in here that's really cool is that hs l. You'll notice there's a black and white conversion in here and that black and white conversion. That means that you can use that targeted adjustment tool Click on the sky and get yourself. You know, Ansel Adams, black sky Come over here to the you know, orange and just extreme. Exaggerate that color in the reflections and elsewhere. And because you're dealing with black and white Now you can do you know we'll take our internal radial here will go inside and maybe we want to really exaggerate this, you know, whole floor here that's being reflected. So here is this area, and now I'm gonna take my exposure. I took my contrast up. I'm taking that clarity way up. And here I'm just taking and making the reflections a big part of that story. Also, when you're working with black and white, you can go back to your basic panel and again get a little bit more carried away with your clarity so that I could even add some more dodging and burning to it. But simply come over here, click on our snapshot. Now, we've got three versions of our file. Could be We jump over here to our split toning where we're going to come up here and add kind of a c Peotone effect to the file. So now we've got 1/4 option. Snapshots are cool and groovy. They are really, really cool if you want. Oh, to output all of these, You could actually come over here and there's a save button here so you could just save each one out, give it a different name. Each one of them could be raw. Each one that you saved. If you did save it back to DMG would have all these snapshots in it. But whatever you're currently looking on is what would be safe? You could save him off to J pig sort. If you can change color space, you can change a bit. Depth. You can scale. You can sharpen. All within are the new enhanced output saving built right into a CR cool. Groovy. Awesome. You don't even need to start up photo shop. Okay, we'll say that there awesome. We could come up here and continue. I could also that I have. I didn't save that other one I mentioned before presets. Let's come over here and I'm gonna duplicate that file. Another thing that you can do it five each. Since all my snapshots on each one of these files when I did a command D or control D and duplicated that if I come over here and open up another file that happens to be similar or to other files, I can go back to this file, go back to a snapshot like this one here, Okay? And it has this effect, and then I can use that same trick that I used on the panorama. Maybe I can come over here, click on this or both of these files and would say, Would you synchronize all this? I don't need the local adjustments cause that was dodging and burning specific to that file, and I certainly don't need any cropping. But you just as a starting point would you automatically do that? And this one, I can tell, is already Here's a before after So that took. You know, 90% of my work flow out of the situation continue to find tuna, but that's a great starting point, this one, because it was so under exposed, I would probably come up here and fine tune. Remember, it doesn't know exposure so I can come up here and fine tune this. But even something like a simple exposure I'm setting is going to give me my before after. That's pretty darn cool that I don't have to start from scratch. OK, it's even more coolly cooler Croupier, you come down and say, Done, you go! Oh, I forgot. You know, I've got these other files here. It would be really great if I could just click on one file right click develop settings, copy settings and without even opening up adobe camera, Go to another file, right click, develop settings, pay settings is going to say What would you like, sir, to paste? I can say Well, everything but crop, please. Thank you very much. There is a starting point and this is where again, It's so much lighter. I probably should have used I'm not that file. Let's use this one. Developed setting. Copy. Right click developed setting paste. Okay, great. Better starting point. You'll also notice in that same place, I can come over here, develop setting and every single one of my presets, which I happen to make a lot of those air from my a c r class. Yes, I'm pushing my creative class files and I come over here and let's say I wanted to do a either high key or I could do Let's do in HDR take a stab. Okay, so I've got hdr black and white, you know, Come over here and do but you get the idea. So anyway, doh became a rock. You should not be using photo shop for the vast majority of your optimizing your images, no matter where they came from, especially in terms of this, where you have a consistent camera lends set up. It's so consistent. The ability of sync files is incredibly useful. Okay, Questions? Yes. So sometimes when you're ta going between, you know, you just did a, uh, vignette or something in your talking between the two. Sometimes when you're toggle ing or I've done this myself kind of messes with your visual palette, if you will, that, uh, to toggle and maybe skews your view of how the image looks. I've done that before with color and black and white, because your yeah, exactly do you have? Sometimes I just close my eyes, click it and then review it to kind of Do you ever do that or what's your? Certainly, there's a lot of things you can do it because you're I does get used to seeing something, and that quick change between two things happen. It also. When you're looking at a composition, you start seeing symbols rather than composition. This is, ah, situation like when you're painting, oftentimes painters, including myself, will paint their picture upside down. In other words, if you have a reference picture that you're trying to paint. Turn the reference picture upside down, turn your canvas upside down, get the mind completely out of it. And now you're just doing shapes and colors and tones. When you're done, move it over. But that got the mind out of it. And you're not thinking tree vase. Whatever you're thinking. Shape, shape, color, tone. So that is useful. Probably one of the easiest things for that situation is just getting up and moving away, not only just because of that before, after an ice closed, which usually doesn't work too well for me. But that idea of, um especially with an after image, um, getting up, walking away and looking at it as you'll notice the two tweets that I did it, that one. How different they were. Same person, same image. Tweak it totally different because of the way I was feeling. You know what was going on so that that's one of the great things about those snapshots you can any time you start going down a rabbit trail, ego cost is kind of cool, but I don't want to get too far down here. I like it. Take a snapshot. Go down the rabbit trail. You can always go back. Great. It's awesome. But that getting getting away, you know, and taking a look at it, having someone else come in. What do you think about this? Usually people would look at mine and go. My eyes are bleeding. What you trying to do, Kill me? You know that? Just, you know, turn it down from Volume 12 please, But okay.